Plinky Plonky squeakcore that is, variously, reminiscent of sad clown paintings, deserted airport lounges on a summer day, a homeless man playing jazz on the banks of the Seine and the soundtrack to a documentary about a palliative care home for animals. Good for those days when you're feeling a bit odd and only want to exacerbate the situation.

British electronic musician Ed Lawes's debut album is a set of great integrity, the product of three years' dedicated programming. 14 Tracks/Pieces follows the escape route out of Techno laid down by Autechre, even if the oldest track on the record, "Actually Real", is the only one with a hint of linear beats. But the attack is so even-paced, so gentle, that the experience is akin to hearing a fairly traditional jazz record filtered or processed. more

Ed Lawes springs out of nowhere, scaring the cattle and holding onto his liner notes much too tightly. This man needs an old fashioned bobby to raise his hand, palm outwards and say NO! to him. Take for example the following (brief) quote from the liner notes: “... from a minimal range of means (the returned trumpets at the beginning) to ‘a’ maximum range (a maximum within the limits I have set) (at their most... 3 violins, 3 doublebasses, 3 more

This is a set of great integrity, the product of three years dedicated programming. Lawes aesthetic lies in the netherspace between Gil Evans, Ingram Marshall, and Pierre Henry. However it's this ease with which the listener can pinpoint antecedents that slightly dogs the record. Many of the themes have a nagging similarity to music you're sure you heard once somewhere, indeed occasionally it can feel like an index of Avant-Garde dabbling. This would more